that, if one passion or disposition is to be wrought up with tolerable success, I believe it is as much as can in any reason be expected.  If there be scenes of distress and scenes of humor, they must either be in a double or single plot.  If there be a double plot, there are in fact two.  If they be in checkered scenes of serious and comic, you are obliged continually to break both the thread of the story and the continuity of the passion,—­if in the same scene, as Mrs. V. seems to recommend, it is needless to observe how absurd the mixture must be, and how little adapted to answer the genuine end of any passion.  It is odd to observe the progress of bad taste:  for this mixed passion being universally proscribed in the regions of tragedy, it has taken refuge and shelter in comedy, where it seems firmly established, though no reason can be assigned why we may not laugh in the one as well as weep in the other.  The true reason of this mixture is to be sought for in the manners which are prevalent amongst a people.  It has become very fashionable to affect delicacy, tenderness of heart, and fine feeling, and to shun all imputation of rusticity.  Much mirth is very foreign to this character; they have introduced, therefore, a sort of neutral writing.

Now as to characters, they have dealt in them as in the passions.  There are none but lords and footmen.  One objection to characters in high life is, that almost all wants, and a thousand happy circumstances arising from them, being removed from it, their whole mode of life is too artificial, and not so fit for painting; and the contrary opinion has arisen from a mistake, that whatever has merit in the reality necessarily must have it in the representation.  I have observed that persons, and especially women, in lower life, and of no breeding, are fond of such representations.  It seems like introducing them into good company, and the honor compensates the dulness of the entertainment.

Fashionable manners being fluctuating is another reason for not choosing them.—­Sensible comedy,—­talking sense a dull thing—....

FOOTNOTES: 

[3] Sic in MS.

[4] Sic in MS.

AN ESSAY

TOWARDS AN

ABRIDGMENT OF THE ENGLISH HISTORY.

IN THREE BOOKS.

AN

ABRIDGMENT OF ENGLISH HISTORY.

BOOK I.

CHAPTER I.

CAUSES OF THE CONNECTION BETWEEN THE ROMANS AND BRITONS.—­CAESAR’S TWO INVASIONS OF BRITAIN.